• 디자인학연구
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• 제11권
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• pp.142-155
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• 1995

A matter of primary concern about all the design is concentrated on how to create more valuable things to allow people to live an affluent life. However, it is very difficult to achieve the goal because every design work is changed in accordance with given situations. Situations are changeable, so is design. There is no progress without change, but change is not necessarily progress. It is highly desirable that their changes be beneficial to mankind. Our main problem is to be able to discrimination between which should be discarded and that which should be kept, built and improved Viewed at this aspect, it is significant to study the relation between globalism and cultural identity of design, because every design has been constantly influenced by global trends and local characteristics. The paper is composed of four parts Introduction, Characteristic of global design, Cultural identity of design and Conclusion In Introduction, the purpose and background of the study are presented. In Chapter1. social back ground, multi-kinds smallproduction and new problems and searched. In Chapter2, vernacular design, transmission and propagation and tradition and innovation are considered. In Conclusion, some suggestive words on the subject are mentioned.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.93-101
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• 2008

One of the big difference between Aalto and other modem architects lies in an attitude that Aalto went beyond the principle of dogmatic functionalism. As an architect of Northern Europe, Aalto made unique architecture that showed both the language of modem architecture and vernacular architecture. He presented the best example which showed modernity in architecture without losing the meaning of the context including site, region and cultural tradition. With this background, Aalto developed his own typological design approach. As Wolfsburg church was designed in his prime of time, it showed the origin and evolutionary process of religious architecture as well as general features of Aalto's design. Clustered site plan, dynamic space of interior, the adequate control of natural light are representative characteristics found in Aalto's religious architecture. Wolfsburg church also demonstrate these features in more specific way including the continuity of wall and ceiling that showed spatial dynamics, free opening of wall which reflects on functions, and careful adjust of natural light. As a result, Aalto showed his typological design strategy that added new design ideas to the accumulated design vocabularies in the design of Wolfsburg church.

• 한국실내디자인학회논문집
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• 제27호
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• pp.43-50
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• 2001

This study examines how various elements characteristic of the traditional Japanese architecture are applied to contemporary architectural designs in japan. The issue of how to incorporate cultural tradition into architectural design has become one of central questions cast on modern architects. In this sense, the Japanese contemporary architecture has often been touted as infusing Japanese traditional elements into modern artifacts both functionally and aesthetically. That is, while Japanese architecture encompasses the essentials of Western modern techniques and styles, it obviously embodies Japanese tradition. Through the examination of various contemporary buildings in Japan, this study specifically explores how the vernacular forms and elements unique to Japan are reinterpreted and reinvigorated in contemporary architectural designs.

• 한국조경학회지
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• 제36권4호
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• pp.1-14
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• 2008

드림랜드 부지는 산으로 둘러싸인 강북지 역의 유일한 평지화 된 놀이공원이었으나, 현재는 시설 노후화와 방치로 인해 지역 거점공원으로서의 기능이 상실되었다. 부지 주변은 기존의 밀집주거와 새로 조성될 뉴타운 등이 혼재할 것이며, 특히 지역 여건상 강북지역의 도시환경 개선을 위한 대형공원이 필요하다는 측면에서 강북 대형공원 조성사업이 대두되었다. 본 연구는 강북 대형공원 조성사업 국제 현상공모에서 우수작으로 선정된 작품의 설계전략과 내용을 서술하고자 한다. 계획안의 주안점은 다음과 같다. 첫째, 산지형 공원의 새로운 가능성을 찾고자 하였다. 지극히 일상적인 생활공간으로서 산책과 등산, 체력단련시설 등 제한적으로 이용되는 산지형 공원을 선조들이 산을 즐겼던 그 정취를 재현해 보고자 하였다. 둘째, 사회성 강한 자립공원을 만들고자 하였다. 도시 속에 섬으로 존재하는 녹색 숲으로서의 공원이 아닌 자체적인 변화의 에너지를 발산하면서 도시와 적극적으로 소통할 수 있는 공원이 되도록 하였다. 셋째, 다랑이 논은 자연과 더불어 사는 우리의 삶의 방식과 이념을 표현한 실체적 공간이었으며, 우리의 대표적인 향토적 경관이기도 하다. 이런 다랑이 논은 세 개의 낮은 산으로 둘러싸인 대상지를 아우를 수 있는 디자인 모티브였으며, 산에서부터 자연스럽게 흘러내리는 정겨운 풍경은 도시속의 명소로서 사람들의 이야기를 담아낼 수 있도록 계획하였다.

• 한국실내디자인학회논문집
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• 제17권6호
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• pp.120-127
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• 2008

Korean space design image is a kind of writing as well as one of the sign that dissembles itself as a direct transcript of what it represents. Moreover it is pictorial representation and notions such as mental and perceptual imaginary. Significance of Iconology lies in how we transform image and the imagination that produces it into power of trust and respect. From this point of view, the process of this study is illustrated as follows: At first, this study search out concept of archetype, collective unconsciousness and collective representation that found principles on basic theory for interpretation of korean space icon. Secondly, it mentions theoretical background of iconological contents and structure. And it clarifies Iconology as a method that is applicable logic for Korean space design. Finally, as an analysis of korean space design, this study analyse in three steps that are pre-iconological description, iconological analysis, iconological interpretation each in terms of modernization at regional korean space design. In the step of the pre-iconological description, it describe visual representative style based on era and place. In the step of the iconological analysis, the typical structure is classified in status, vernacular, ethnic, traditional. In the step of the iconological interpretation, connotation is categorized into allegory, multivalence, potential. Through this process, this study suggest that iconology is an appropriate analysis system of Korean space design images that represent symbols combined with our collective emotion.

• 한국조경학회지
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• 제27권1호
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• pp.90-100
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• 1999

The Fallingwater, one of Wright's best designs, is known as a good example of "Organic Architecture". Its landscape characteristics are harmonious relationship between architecture and landscape, adaptable siting, composition of spatial and visual structure, floating spaceness, interlocking of water and house, dramatic approach, and vernacular material use. This characteristics had begun from the Prairie architecture, but also had influenced by the culture and art of the Far East. He was open to foreign cultures. Staying in Japan for years, he had travelled China, too. In this process, he might be exposed to Korean art and culture which were under Japan at that time. Comparing the front image of the Songkwang Temple to that of the Fallingwater, their compositions between architecture, water, and landscape are so similar to each other. They are also close to each other in terms of spatial structure. Therefore the landscape characteristics found in the Fallingwater design are more similar to Korean landscape architectural characteristics than Japanese ones. Therefore we are going to suggest the hypothesis that Wright is influenced by Korean landscape design in the design of the Fallingwater. Considering his impact upon the design world, it will be significant if the concept of Korean traditional landscape design is placed behind his design of the great architecture.hitecture.

• 한국환경과학회지
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• 제13권2호
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• pp.109-116
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• 2004

Nagan walled town is located on an axis connecting symbolic places, which is a lucky place from the Fengshui point of view because a mountain sits to the rear and a body of water sits to the front. It represents the environmental development of cultural space by blending folk belief, religion, social systems, adminstration facilities and living culture buildings. Therefore, it has a sustainable cultural view connected with a formed or formless religious view and an artificial view (walls, government buildings, living houses, cultivated lands, etc.) in a natural landscape. Environmental design techniques, enlarging the meaning and value of living on a mental level, can be found in the arrangement of space composition and settlement of Nagan walled town. The organised spaces of government and residential areas were constructed within the wall with the view of searching for lucky places (from best, better and good places) in order to construct ecological networks according to the outlooks of space and settlement.

• 한국환경과학회:학술대회논문집
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• 한국환경과학회 2003년도 International Symposium on Clean Environment
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• pp.185-191
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• 2003

Walled town was located on the axis connecting symbolic places, which was a feng-shui lucky place of a mountain sits to the rear and a body of water sits to the front. It represents environmental development of cultural space by blend of folk belief, religion, social system, administration facilities and living culture buildings. Therefore it is sustainable cultural view connected of formed or formless religious view and artificial view(wall, government buildings, living houses, and cultivated land so on) in a nature landscape. Environmental design technique, enlarging its meaning and value of living to mental level was founded from space composition and settlement, which was constructed organized space of government and residence area of walled town within the wall for looking for lucky place(from best, better, and good places) in order to construct ecological network (天+地+人, 山＋水＋方位＋人, 地理＋生利＋山水＋人心) by outlook of space and settlement.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2005년도 춘계학술발표대회 논문집
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• pp.102-105
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• 2005

This study is an analysis about the typological characteristics of Luis Barragan's dwellings, especially on the masterpieces. For the purpose of grasps steam of his works, it classified into three categories ; landscape, space, and light-color. Through the analysis of the essential elements of his works, we can find that Barragan harmonize Mexican vernacular with modern, reason with sensitivity, geometry with landscape. It Is the recomposition of a tradition and identity, and it also can be a kind of solution of reinterpretation of history and tradition which we are faced with.

• 한국실내디자인학회논문집
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• 제32호
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• pp.13-20
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• 2002

This study is purposed to find fundamental characteristics in Grassi's architecture which has architectural principles in architecture itself and in the general frame of the historical facts of architecture. His architectural theories can be explained for rationality, historicity, universality. The method of architectural composition can be divided into urban morphological characteristic and compositional characteristic of architecture. The characteristics of the former are the reconstruction of the urban structure by the readjustment of an urban axis which is based on historical continuity of the city, the open court which is a passage transformed from colonnade that is the historical vernacular type and the respect for the city-line which goes with historical context. The characteristics of the latter are the use transformed of nine square which gives consideration to centrality and typology at the same time and the hierarchic division of the principal space and the subordinate space for the functional typical purpose. This analysis shows that Grassi's architecture is on the base of historical continuity and urban reality and for him architectural work is mental work which conflict with the real world for the reconstruction of the city.